canon lcd panel doesn't shut off made in china

2023-01-03 12:32:11

canon lcd panel doesn

"Just like Canon"s Professional series line of camera"s the EOS 90D does not have an eyepiece sensor to turn off the LCD screen and requires the info button to be pressed in order to turn off the LCD screen while shooting photos through the viewfinder."

My recollection is that the shutoff "feature" wasn"t there because it was thought to be a convenience for the user. Like the rubber eyepiece cover that attaches to the neck strap, it was meant to keep light from the screen from leaking in through the eyepiece and biasing the metering. Perhaps the newer, better cameras are considered to be sufficiently insulated from spurious light that the shutoff is unnecessary. Note that if the screen serves as a touchscreen, you might specifically not want the shutoff.

canon lcd panel doesn

After following Tyler Koski"s excellent dismantling guide in order to replace a broken screen and clean a gritty lens (fell off the Kilimanjaro, literally) and reassembling the whole thing, I found that my camera no longer turns on (it worked before, albeit the LCD was broken and the images dirty). I tried :

canon lcd panel doesn

This post is about batteries for Canon digital cameras. It"s easy to get confused if you have a few different models of Canon cameras like I do. We"re going to answer the common questions you have about Canon camera batteries.

Right now I am shooting with 3 different cameras that use 3 different batteries. I know what you"re thinking. That"s crazy! We"ll explain that in a minute, but first a quick look at organizing your Canon batteries if you think you"re in need of a backup battery.

You can also label your batteries by date, so that you know which is the freshest battery and which has the most capacity for the longest life. Here is a short video for you to help with staying organized with your batteries for your Canon digital cameras.

I also use sticky labels on the front of my battery chargers. I have the charges on a shelf in my office and with them easily identified I can insert the battery on the first try and not waste time with trying to engage a battery into the wrong charger.

You do not have to use Canon batteries in your Canon camera. There are many legitimate battery manufacturers that make high quality batteries that will power you Canon with no problems.

I started out as a Canon loyalist when it came to using their batteries. Like I did, you can live and learn by your mistakes. Provided any camera accessory is manufactured properly and it is fully compatible with ZERO difference in function , it make sense to go with a third party.

There"s enough of a common misconception that if it doesn"t say Canon, it won"t work in your camera. That concept creates enough of a demand to obligate photographers to buy Canon batteries. Don"t get me wrong, Canon batteries are top quality, but there are plenty of other solid options.

All Canon batteries are not the same. Many of them are the same shape because the Canon cameras are built with similar designs. You can interchange Canon batteries with batteries marketed by other companies. Just double check to make sure they"re compatible.

Each Canon camera has its own design and has unique size dimensions as well as different spaces available inside its body. Batteries have to be matched to both fit in a specific location as well as provide a specific amount of power to the camera.

As an example, the EOS R mirrorless camera was designed to accept the same LP-E6 batteries as several of the Canon DSLR cameras as well as several of the Canon mirrorless "R" cameras, such as the R, the R5, the R6, and Ra.

As mentioned, third party batteries are fine provided they are purchased from a reputable company. You DO take a risk if you buy a fake Canon battery, that is a counterfeit that says it"s a Canon battery, but is really a fake.

Any individual or company that is trying to fool you can"t be trusted and you shouldn"t trust the reliability or safety of using their batteries in your expensive Canon camera.

The most well known source of counterfeit batteries can be found on ebay. The easy clue to look for is a "Genuine Canon Battery" priced at the same low price of a legitimate 3rd party alternative.

TEST IT. Buy them and do a full test as soon as you get them. This takes a little effort to drain a full battery. Shoot video, use the LCD screen continuously on a bright setting, and use the built-in flash frequently to give your new battery a good test.

3RD PARTY. Buy the NON-canon made batteries. Canon is a camera and lens maker not an expert at manufacturing and distributing batteries. Buy batteries from a company that focuses on batteries.

SAVE. Save money and buy them at a discount electronics store, office supply store or get them from a large online retailer with a great return policy like Amazon.

Canon corporation does not make its own batteries. Surprised? Don"t be. The large majority of batteries are made in China. Canon is located in Japan. To the best of my knowledge and at the time of this post, Canon outsources their battery production to a single company in China.

Canon has 4 different types of batteries they use for their EOS digital cameras. These come straight from the Canon Europe website:NP SERIES. Large, high capacity for the professional series cameras

One of the popular camera accessories for Canon shooter is a battery grip. They give you great access to the camera controls and settings while holding your camera in a vertical "portrait" orientation.

Thanks for visiting my blog. To see some of my photos or watch some of the videos on Canon equipment, see the links in the signature block below. Stay inspired. Make sure you"re having fun. If you want to have a blast then shoot a Canon.

Bruce Lovelace is the publisher of Canon Camera Geek. Read more about him on theAboutPage. He also publishes how to articles and camera gear reviews at thePhotography Tipswebsite.

View some of Bruce"s photos onInstagram andFlickr.Join the tribe of followers onYouTube. Visitthe Canon GeekFaceBook Page.Bruce also runs photo workshops and provides 1 on 1 digital photography coaching.

What docable release shutter buttons do and should you use a genuine canon cable release for your Canon camera or can you get by with another manufacturer?

canon lcd panel doesn

For the last two years I’ve primarily used Canon’s astro-friendly and red-sensitive EOS Ra mirrorless, a model sadly discontinued in September 2021 after just two years on the market. I reviewed that camera in the April 2020 issue of Sky & Telescope magazine, with a quick first look here on my blog.

The superb performance of the Ra has prompted me to stay with the Canon mirrorless R system for future camera purchases. Here I test the mid-priced R6, introduced in August 2020.

NOTE: In early November 2022 Canon announced the EOS R6 MkII, which one assumes will eventually replace the original R6 once stock of that camera runs out. The MkII has a 24 Mp sensor for slightly better resolution, and offers longer battery life. But the main improvements over the R6 is to autofocus accuracy, a function of little use to astrophotographers. Only real-world testing will tell if the R6 MkII has better or worse noise levels than the R6, or has eliminated the R6’s amp glow, reported on below.

The Canon R6 has proven excellent for astrophotography, exhibiting better dynamic range and shadow recovery than most Canon DSLRs, due to the ISO invariant design of the R6 sensor. It is on par with the low-light performance of Nikon and Sony mirrorless cameras.

The preview image is sensitive enough to allow easy framing and focusing at night. The movie mode produces usable quality up to ISO 51,200, making 4K movies of auroras possible. Canon DSLRs cannot do this.

Canon’s first full-frame mirrorless camera, the 30-megapixel EOS R, was introduced in late 2018 to compete with Sony. As of late-2021 the main choices in a Canon DSLM for astrophotography are either the original R, the 20-megapixel R6, the 26-megapixel Rp, or the 45-megapixel R5.

The new 24-megapixel Canon R3, while it has impressive low-noise performance, is designed primarily for high-speed sports and news photography. It is difficult to justify its $6,000 cost for astro work.

I have not tested Canon’s entry-level, but full-frame Rp. While the Rp’s image quality is likely quite good, its small battery and short lifetime on a single charge will be limiting factors for astrophotography.

Meanwhile, the original EOS R, while having excellent image quality and features, is surely destined for replacement in the near future – with a Canon EOS R Mark II? The R’s successor might be a great astrophoto camera, but with the Ra gone, I feel the R6 is currently the prime choice from Canon, especially for nightscapes.

But the R6 has a trick up its sleeve for framing nightscapes. Switch the Mode dial to Movie, and set the ISO up to 204,800 (or at night just dial in Auto ISO), and with the lens wide open and shutter on 1/8 second (as above), the preview image will brighten enough to show the Milky Way and dark foreground, albeit in a noisy image. But it’s just for aiming and framing.

The R6 will also autofocus down to a claimed EV -6.5, allowing it to focus in dim light for nightscapes, a feat impossible in most cameras. In practice with the Canon RF 15-35mm lens at f/2.8, I found the R6 can’t autofocus on the actual dark landscape, but it can autofocus on bright stars and planets (provided, of course, the camera is fitted with an autofocus lens).

In manual focus, an additional Focus Aid overlay provides arrows that close up and turn green when in focus on a bright star or planet. Or you can zoom in by 5x or 10x to focus by eye the old way by examining the star image. I wish the R6 had a 15x or 20x magnification; 5x and 10x have long been the Canon standards. Only the Ra offered 30x for ultra-precise focusing on stars.

In all, the ease of framing and focusing will be the major improvement you’ll enjoy by moving to any mirrorless, especially if your old camera is a cropped-frame Canon Rebel or T3i! But the R6 particularly excels at ease of focusing and framing.

Each generation of camera also improves the signal-to-noise ratio by suppressing noise via its sensor design and improved signal processing hardware and firmware. The R6 uses Canon’s latest DIGIC X processor shared by the company’s other mirrorless cameras.

In noise tests comparing the R6 against the Ra and Canon 6D Mark II, all three cameras showed a similar level of noise at ISO settings from 400 up to 12,800. But the 6D Mark II performed well only when properly exposed. Both the R6 and Ra performed much better for shadow recovery in underexposed scenes.

Or it could be that the R6 isn’t as low noise as it should be for a 20 megapixel camera. But it is as good as it gets for Canon cameras, and that’s very good indeed.

The flaw in many Canon DSLRs, one documented in my 2017 review of the 6D Mark II, was their poor dynamic range due to the lack of an ISO invariant sensor design.

The R6, as with Canon’s other R-series cameras, has largely addressed this weakness. The sensor in the R6 appears to be nicely ISO invariant and performs as well as the Sony and Nikon cameras I have used and tested, models praised for their ISO invariant behaviour.

To test the R6, I shot sets of images at the same shutter speed, one well-exposed at a high ISO, then several at successively lower ISOs to underexpose by 1 to 5 stops. I then brightened the underexposed images by increasing the Exposure in Camera Raw by the same 1 to 5 stops. In an ideal ISO invariant sensor, all the images should look the same.

However, to be clear, ISO invariant behaviour doesn’t help you as much if you underexpose by using too short a shutter speed or too small a lens aperture. I tested the R6 in series of images underexposed by keeping ISO the same but decreasing the shutter speed then the aperture in one-stop increments.

Thermal noise is more insidious and harder to eliminate in post without harming the image. However, Monika Deviat offers a clever method here at her website.

As with the EOS Ra, and all mirrorless cameras, the R6 has no “dark frame buffer” that allows several exposures to be taken in quick succession even with LENR on. Canon’s full-frame DSLRs have this little-known buffer that allows 3, 4, or 5 “light frames” to be taken in a row before the LENR dark frame kicks in a locks up the camera on Busy.

With all Canon R cameras, and most other DSLRs, turning on LENR forces the camera to take a dark frame after every light frame, doubling the time it takes to finish every exposure. That’s a price many photographers aren’t willing to pay, but on warm nights it can be necessary, and a best practice, for the reward of cleaner images.

Canons have always been known for their good star colours, and the R6 is no exception. According to DPReview the R6 has a low-pass anti-alias filter in front of its sensor. Cameras which lack such a sensor filter do produce sharper images, but stars that occupy only one or two pixels might not de-Bayer properly into the correct colours. That’s not an issue with the R6.

I also saw no “star-eating,” a flaw Nikons and Sonys have been accused of over the years, due to aggressive in-camera noise reduction even on raw files. Canons have always escaped charges of star-eating.

I saw this type of amp glow with the Sony a7III, a flaw eventually eliminated in a firmware update that, I presume, turned off unneeded electronics in long exposures.

Amp glow is something I have not seen in Canon cameras for many years. In a premium camera like the R6 it should not be there. Period. Canon needs to fix this with a firmware update.

The R6 I bought was a stock “off-the-shelf” model. It is Canon’s now-discontinued EOS Ra model that is (or was) “filter-modified” to record a greater level of the deep red wavelength from red nebulas in the Milky Way. Compared to the Ra, the R6 did well, but could not record the depth of nebulosity the Ra can, to be expected for a stock camera.

TIP:Buying a used Canon Ra (if you can find one) might be one choice for a filter-modified mirrorless camera, one much cheaper than a full frame cooled CMOS camera such as a ZWO ASI2400MC. Or Spencer’s Camera sells modified versions of all the R series cameras with a choice of sensor filters. But I have not used any of their modded cameras.

A concern of prospective buyers is whether the R6’s relatively low 20-megapixel sensor will be sharp enough for their purposes. R6 images are 5472 by 3648 pixels, much less than the 8000+ pixel-wide images from high-resolution cameras like the Canon R5, Nikon Z7II or Sony a1.

TIP:Adobe now offers (in Lightroom and in Camera Raw) a Super Resolution option, that users might think (judging by the rave reviews on-line) would be the answer to adding resolution to astro images from “low-res” cameras like the R6.

Canon now offers the option of shooting either RAW or cRAW files, the latter being the same megapixel count but compressed in file size by almost a factor of two. This allows shooting twice as many images before card space runs out, perhaps useful for shooting lots of time-lapses on extended trips away from a computer.

The R6 uses a new version of Canon’s standard LP-E6 battery, the LP-E6NH, that supports charging through the USB-C port and has a higher 2130mAh capacity than the 1800mAh LP-E6 batteries. However, the R6 is compatible with older batteries.

On warm nights, I found the R6 ran fine on one battery for the 3 to 4 hours needed to shoot a time-lapse sequence, with power to spare. However, as noted below, the lack of a top LCD screen means there’s no ongoing display of battery level, a deficiency for time-lapse and deep-sky work.

TIP:Putting the camera into Airplane mode (to turn off WiFi and Bluetooth), turning off the viewfinder, and either switching off or closing the rear screen all helps conserve power. The R6 does not have GPS built in. Tagging images with location data requires connecting to your phone.

The R6 can shoot at a dragged shutter speed as slow as 1/8-second – good, though not as slow as the Sony’s 1/4-second slowest shutter speed in movie mode. That 1/8-second shutter speed and a fast f/1.4 to f/2 lens are the keys to shooting movies of the night sky. Only when auroras get shadow-casting bright can we shoot at the normal 1/30-second shutter speed and at lower ISOs.

As with Nikons (but not Sonys), the Canon R6 saves its movie settings separately from its still settings. When switching to Movie mode you don’t have to re-adjust the ISO, for example, to set it higher than it might have been for stills, very handy for taking both stills and movies of an active aurora, where quick switching is often required.

However, the R6 offers the option of a “Movie Crop” mode. Rather than taking the 4K movie downsampled from the entire sensor, this crop mode records from a central 1:1 sampled area of the sensor. That mode can be useful for high-magnification lunar and planetary imaging, for ensuring no loss of resolution. It worked well, producing videos with less pixelated fine details in test movies of the Moon.

Shooting in the R6’s Canon cLog3 profile records internally in 10-bit, preserving more dynamic range in movies, up to 12 stops. During eclipses, that will be a benefit for recording totality, with the vast range of brightness in the Sun’s corona. It should also aid in shooting auroras which can vary over a huge range in brightness.

TIP:Processing cLog movies, which look flat out of camera, requires applying a cLog3 Look Up Table, or LUT, to the movie clips in editing, a step called “colour grading.” This is available from Canon, from third-party vendors or, as it was with my copy of Final Cut Pro, might be already installed in your video editing software. When shooting, turn on View Assist so the preview looks close to what the final graded movie will look like.

In one test, I shot a time-lapse from twilight to darkness with the R6 in Aperture Priority auto-exposure mode, of a fading display of noctilucent clouds. I just let the camera lengthen the shutter speed on its own. It tracked the darkening sky very well, right down to the camera’s maximum exposure time of 30 seconds, using a fish-eye lens at f/2.8. This demonstrated that the light meter in the R6 was sensitive enough to work well in dim light.

The R6 has no such option but doesn’t seem to need it. The exposure did fail at the very end, when the shutter reached its maximum of 30 seconds. If I had the camera on Auto ISO, it might have started to ramp up the ISO to compensate, a test I have yet to try. Even so, this is impressive time-lapse performance in auto-exposure.

The R6, like the low-end Rp, lacks a top LCD screen for display of camera settings and battery level. In its place we get a traditional Mode dial, which some daytime photographers will prefer. But for astrophotography, a backlit top LCD screen provides useful information during long exposures.

However, the port is Canon’s low-grade 2.5mm jack. It works, and is a standard connector, but is not as sturdy as the three-pronged N3-style jack used on Canon’s 5D and 6D DSLRs, and on the R3 and R5. Considering the cost of the R6, I would have expected a better, more durable port. The On/Off switch also seems a bit flimsy and easily breakable under hard use.

These deficiencies provide the impression of Canon unnecessarily “cheaping out” on the R6. You can forgive them with the Rp, but not with a semi-professional camera like the R6.

Unlike the Canon R and Ra (which still mysteriously lack a built-in interval timer, despite firmware updates), the R6 has one in its firmware. Hurray! This can be used to set up a time-lapse sequence, but on exposures only up to the maximum of 30 seconds allowed by the camera’s shutter speed settings, true of most in-camera intervalometers.

Like all Canon cameras, the R6 can be set to take only up to 99 frames, not 999. That seems a dumb deficiency. Almost all time-lapse sequences require at least 200 to 300 frames. What could it possibly take in the firmware to add an extra digit to the menu box? It’s there at in the Time-lapse Movie function that assembles a movie in camera, but not here where the camera shoots and saves individual frames. It’s another example where you just can’t fathom Canon’s software decisions.

TIP:If you want to shoot 100 or more frames, set the Number of Frames to 00, so it will shoot until you tell the camera to stop. But awkwardly, Canon says the way to stop an interval shoot is to turn off the camera! That’s crude, as doing so can force you to refocus if you are using a Canon RF lens. Switching the Mode dial to Bulb will stop an interval shoot, an undocumented feature.

As with most recent Canon DSLRs and DSLMs, the menu also includes a Bulb Timer. This allows setting an exposure of any length (many minutes or hours) when the camera is in Bulb mode. This is handy for single long shots at night.

However, it cannot be used in conjunction with the Interval Timer to program a series of multi-minute exposures, a pity. Instead, a separate outboard intervalometer has to be used for taking an automatic set of any exposures longer than 30 seconds, true of all Canons.

In Bulb and Bulb Timer mode, the R6’s rear screen lights up with a bright Timer readout. While the information is useful, the display is too bright at night and cannot be dimmed, nor turned red for night use, exactly when you are likely to use Bulb. The power-saving Eco mode has no effect on this display, precisely when you would want it to dim or turn off displays to prolong battery life, another odd deficiency in Canon’s firmware.

The Timer display can only be turned off by closing the flip-out screen, but now the viewfinder activates with the same display. Either way, a display is on draining power during long exposures. And the Timer readout lacks any indication of battery level, a vital piece of information during long shoots. The Canon R, R3 and R5, with their top LCD screens, do not have this annoying “feature.”

The R6 offers a menu option present on many recent Canon cameras: Multiple Exposure. The camera can take and internally stack up to 9 images, stacking them by using either Average (best for reducing noise) or Bright mode (best for star trails). An Additive mode also works for star trails, but stacking 9 images requires reducing the exposure of each image by 3 stops, say from ISO 1600 to ISO 200, as I did in the example below.

The result of the internal stacking is a raw file, with the option of also saving the component raws. While the options work very well, in all the cameras I’ve owned that offer such functions, I’ve never used them. I prefer to do any stacking needed later at the computer.

Being a mirrorless camera, there is no reflex mirror to introduce vibration, and so no need for a mirror lockup function. The shutter can operate purely mechanically, with physical metal curtains opening and closing to start and end the exposure.

However, the default “out of the box” setting is Electronic First Curtain, where the actual exposure, even when on Bulb, is initiated electronically, but ended by the mechanical shutter. That’s good for reducing vibration, perhaps when shooting the Moon or planets through a telescope at high magnification.

In Mechanical, the physical curtains both start and end the exposure. It’s the mode I usually prefer, as I like to hear the reassuring click of the shutter opening. I’ve never found shutter vibration a problem when shooting deep sky images on a telescope mount of any quality.

In Mechanical mode the shutter can fire at up to 12 frames a second, or up to 20 frames a second in Electronic mode where both the start and end of the exposure happen without the mechanical shutter. That makes for very quiet operation, good for weddings and golf tournaments!

Being vibration free, Electronic shutter might be great during total solar eclipses for rapid-fire bursts at second and third contacts when shooting through telescopes. Maximum exposure time is 1/2 second in this mode, more than long enough for capturing fleeting diamond rings.

Longer exposures needed for the corona will require Mechanical or Electronic First Curtain shutter. Combinations of shutter modes, drive rates (single or continuous), and exposure bracketing can all be programmed into the three Custom Function settings (C1, C2 and C3) on the Mode dial, for quick switching at an eclipse. It might not be until April 8, 2024 until I have a chance to test these features. And by then the R6 Mark II will be out!

TIP:While the R6’s manual doesn’t state it, some reviews mention (including at DPReview) that when the shutter is in fully Electronic mode the R6’s image quality drops from 14-bit to 12-bit, true of most other mirrorless cameras. This reduces dynamic range. I would suggest not using Electronic shutter for most astrophotography, even for exposures under 1/2 second. For longer exposures, it’s a moot point as it cannot be used.

TIP:The R6 has the same odd menu item that befuddles many a new R-series owner, found on Camera Settings: Page 4. “Release Shutter w/o Lens” defaults to OFF, which means the camera will not work if it is attached to a manual lens or telescope it cannot connect to electronically. Turn it ON and all will be solved. This is a troublesome menu option that Canon should eliminate or default to ON.

The little Multi-Function (M-Fn) button is a worth getting used to, as it allows quick access to a choice of five important functions such as ISO, drive mode and exposure compensation. However, the ISO, aperture and shutter speed are all changeable by the three scroll wheels.

Unlike Sonys, the R6 has no dedicated Custom buttons per se. However, it does offer a good degree of customization of its buttons, by allowing users to re-assign them to other functions they might find more useful than the defaults. For example ….

The new wider RF mount accepts only Canon and third-party RF lenses. However, all Canon and third-party EF mount lenses (those made for DSLRs) will fit on RF-mount bodies with the aid of the $100 Canon EF-to-RF lens adapter.

This adapter will be necessary to attach any Canon R camera to a telescope equipped with a standard Canon T-ring. That’s especially true for telescopes with field flatterers where maintaining the standard 55mm distance between the flattener and sensor is critical for optimum optical performance.

The extra spacing provided by a mirrorless camera has the benefit of allowing a filter drawer to be inserted into the light path. Canon offers a $300 lens adapter with slide-in filters, though the choice of filters useful for astronomy that fit Canon’s adapter is limited. AstroHutech offers a few IDAS nebula filters.

Clip-in filters made for the EOS R, such as those offered by Astronomik, will also fit the R6. Though, again, most narrowband filters will not work well with an unmodified camera.

TIP:Alternatively, AstroHutech also offers its own lens adapter/filter drawer that goes from a Canon EF mount to the RF mount, and accepts standard 52mm or 48mm filters. It is a great way to add interchangeable filters to any telescope when using an R-series camera, while maintaining the correct back-focus spacing. I use an AstroHutech drawer with my Ra, where the modified camera works very well with narrowband filters. Using such filters with a stock R6 won’t be as worthwhile, as I showed above.

As of this writing, the selection of third-party lenses for the Canon RF mount is limited, as neither Canon or Nikon have “opened up” their system to other lens makers, unlike Sony with their E-mount system. For example, we have yet to see much-anticipated RF-mount lenses from Sigma, Tamron and Tokina.

Samyang offers 14mm and 85mm auto-focus RF lenses, but now only under their Rokinon branding. I tested the Samyang RF 85mm f/1.4 here at AstroGearToday.

The few third-party lenses that are available, from TTArtisan, Venus Optics and other boutique Chinese lens companies, are usually manual focus lenses with reverse-engineered RF mounts offering no electrical contact with the camera. Some of these wide-angle lenses are quite good and affordable. (I tested the TTArtisan 11mm fish-eye here.)

Until other lens makers are “allowed in,” if you want lenses with auto-focus and camera metadata connections, you almost have to buy Canon. Their RF lenses are superb, surpassing the quality of their older EF-mount equivalents. But they are costly. I sold off a lot of my older lenses and cameras to help pay for the new Canon glass!

I also have reviews of the superb Canon RF 15-35mm f/2.8, as well as the unique Canon RF 28-70mm f/2 and popular Canon RF 70-200mm f/2.8 lenses (a trio making up the “holy trinity” of zooms) at AstroGearToday.com.

Another popular option is the ASIair WiFi controller from ZWO. It controls cameras via one of the ASIair’s USB ports, and not (confusingly) through the Air’s remote shutter jack marked DSLR. Under version 1.7 of its mobile app, the ASIair now controls Canon R cameras and connected to the R6 just fine, allowing images to be saved both to the camera and to the Air’s own MicroSD card.

TIP:While the R6, like many Canon cameras, can be controlled remotely with a smartphone via the CanonConnect mobile app, the connection process is complex and the connection can be unreliable. The Canon app offers no redeeming features for astrophotography, and maintaining the connection via WiFi or Bluetooth consumes battery power.

Allow programming multiple long exposures by combining Interval and Bulb Timer, or by expanding the shutter speed range to longer than 30 seconds, as some Nikons can do.

The extended red sensitivity of the Canon EOS Ra makes it better suited for deep-sky imaging. But with it now out of production (Canon traditionally never kept its astronomical “a” cameras in production for more than two years), I think the R6 is now Canon’s best camera (mirrorless or DSLR) for all types of astrophotography, both stills and movies.

For low-light movies the R6 is Canon’s answer to the Sony alphas. No other Canon camera can do night sky movies as well as the R6. For me, it was the prime feature that made the R6 the camera of choice to complement the Ra.

canon lcd panel doesn

I had left the camera unused for over a year during the Covid-19 pandemic. I had left the battery out all of this time. I inserted a freshly charged battery and the camera turned on and everything seemed fine at first on the top LCD display. But soon I noticed that the power bar was missing! I turned the on-off dial of and on several times and the power bar showing the battery"s charged level was still missing. I tried rotate the bar further to turn on the top display"s light but nothing. I removed the new battery and installed a new battery (charged I assumed) and the screen went blank! After inserting the remainder batteries (3 of 5), I still get nothing! I even removed the battery grip and tried the batteries again by inserting through the D7100 main battery compartment and still the upper screen was blank with the bracket showing nothing but the outline for the memory card or shots remaining and the green light on the back.

1. I did sprayed some electrical contact cleaner last night around on-off button and dial and the screen was still blank with the brackets displayed in the lower right corner. the rear green light was on.

6. I turned the power off and removed both memory cards. I turned the power back on and the camera came back on normally in which the [-E-] is correctly showing the camera has no memory cards!

7. With the power still off and the two memory cards inserted, I get a display symbol of 1 card and a blank symbol from the second card and the bracketed symbol showing number of shots remaining.

9. I am happy to say that the camera is functioning properly. I wonder if leaving the battery in and "remembering" to change it with a fresh Lithium battery every 6-month is a good idea? I think the cheap "Chinese" battery from unknown source may have caused all of this. I have three NIKON OEM batteries which I will use from now on. I have noticed that the two Chinese made aftermarket batteries have caused my D7100 to act erratically after it has been nearly drained. This is also true on my D700! So, look for Nikon OEM batteries from a reputable source because there are a lot of knock-offs Nikon batteries out there!

canon lcd panel doesn

Just the other day my R5 developed a bright, stuck pixel on the top right corner of the LCD screen. From doing some research, this sometimes happens and is expected on some screens in mass production. I"ve never encountered it before on any device I"ve owned, especially not a new one.

Someone may have some cool options to remediate it, but I chose to return my first Canon DSLR, an 1D., with the same problem. I know it does not affect its image taking capability, but why pay the full price for something that will always bother me? As for you, because the camera is in short supply, your replacement maybe delayed, which might be a good reason to live with it. Then again, you will have to convince the seller or accept a lower resell value, if you"ve ever decided to sell it.

I"m hoping Canon would replace the screen under their 1-year included warranty. I"ll look into it, after giving it a further gentle massage as you suggest.

Do you think Canon would cover a screen replacement under their included 1-year warranty? I"ll give them a call and ask. Hopefully customer service is supportive and can replace just the rear LCD to remedy it, instead of the whole camera.

I would see it that way too. It bothers you and you will always be unhappy with it. It is not a cheap piece of china technology that you are holding in your hand. At CPS Member this is very quick. I would previously create a CPS account with Canon and register all Canon parts that you have there. Then you might even already have Silver State and Priority support. Repairs are very quick.

But the camera cannot read-back the content of the display. How should it get feedback from the display as to which pixels are currently on or not? And, if it is defective, how should the pixel be switched off because it doesn"t seem to work anymore?

I would keep my hands off the display and let Cannon Service replace the display. Thanks to the discreet design, this is done quickly. Replacing an EOS 5D with a permanently installed display would be more complex.

Thanks for the information and advice Juppeck, as well as everyone else. You"re right, this should be remedied by a qualified professional as I"d rather not damage it myself, and I"d rather not have it on a beloved, very expensive new purchase. I just called Canon"s customer service and they told me just send it in whenever, they"ll run some reprogramming software on the screen to try to fix it, and that it is, of course, covered under the 1 year warranty. Hearing this makes me feel much better!

No it doesn"t. If a pixel on the sensor is defective, the camera can detect this. The principle behind this is that the sensor takes an image of the reference image and compares it with the reference and recognizes the differences. The reference image is the completely covered sensor - that is, absolute black. If the recorded image contains other pixel colors than black, these must be defective and the camera will hide them in the images in the future.

Sorry to hear that your camera is defective. Same story here with my R5, which was sent in last week because it would scroll through menus on its own. The Canon rep says it needs a new circuit board.

I was tempted to wait before sending it in, as I knew I would miss it, but the Canon rep told me that if I sent it to them within the first 30 days of purchase, they would cover free shipping (2-day) both ways. After those first 30 days, the cost of shipping (and insurance) to send the lens in would be my responsibility, though the warranty repair and return shipping would still be covered.

According to the R5 manual, 0.01% is expected and is normal according to Canon. I noticed several stuck red pixels in the EVF and one red on the rear LCD when I happened to notice it when the camera was turned on with the lens cap on (wasn"t even particularly looking for them).

Anyone with an R5 interested in taking an information poll? ie - leave your lens cap on, turn on the camera and see if you can see stuck pixels in the EVF of rear LCD?

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The mode dial on the right side of the Canon Rebel XTi"s top panel lets you select various exposure modes, with the same range of options presented as on the preceding Rebel XT. Canon divides the dial into "Basic" and "Creative" zones, the Basic range encompassing the Full Auto setting and the six scene modes in what Canon refers to as the "Image" zone. The Creative zone includes settings for programmed exposure, shutter priority, aperture priority, full manual control, and the Automatic Depth of Field mode.

Flash Off Mode: The first mode in the Image Zone, Flash Off mode disables both the internal flash head and any external flash unit connected. Focus is set to AI Focus mode, drive mode is set to Single, and metering is set to Evaluative. The camera controls ISO and Auto white balance as well.

Night Portrait Mode: This mode is for taking pictures of people at sunset or at night, letting the flash illuminate the subject, while the longer exposure provides a brighter view of the surroundings. The autofocus mode is automatically set to One Shot. Drive mode is set to Single Shot, and metering mode is set to Evaluative. Since slower shutter speeds will be used, a tripod is recommended to prevent movement from the camera. The built-in flash is automatically enabled and synched with the slower shutter speed, so subjects will need to remain still for a few moments after the flash fires to avoid ghost-like after-images. ISO is automatically adjusted by the camera. (For night exposures without the flash, Canon recommends shooting in Landscape mode.)

Sports Mode: This mode uses a faster shutter speed to capture fast-moving subjects. The autofocus mode is automatically set to AI Servo. Drive mode is set to Continuous Shooting, ISO is set to Auto, and metering mode is set to Evaluative. The onboard flash isn"t available in this mode (since it can"t cycle fast enough to keep up with the continuous exposure mode).

Landscape Mode: Landscape mode combines slower shutter speeds with smaller aperture settings to increase the depth of field when shooting broad vistas and sweeping landscapes. This mode is also good for night scenes without people in them. The built-in flash is automatically disabled, even if it"s already raised. Because this mode uses slower shutter speeds, a tripod may be needed in less-bright lighting conditions. Metering is again set to Evaluative and ISO to Auto.

Program AE: This is the first mode in the Creative Zone of the Mode Dial. Program AE works similarly to the Full Automatic exposure mode, but allows more control over the exposure variables. Aperture and shutter speed are automatically selected by the camera, but you can bias the exposure to larger or smaller apertures by turning the Main dial, which will change the combination of aperture and shutter speed so as to maintain the same exposure value, but with a different combination of aperture/shutter speed. (Personally, I find this sort of vari-program mode more useful than the usual shutter- or aperture-priority modes when I"m wanting to adjust the aperture or shutter speed to control depth of field or subject motion blur. The camera won"t let you select a combination of exposure parameters that doesn"t work, but you retain all the flexibility of shutter- or aperture-priority exposure modes.)

Shutter-Priority AE: This mode allows you to manually set the shutter speed anywhere from 1/4,000 to 30 seconds, while the camera chooses the best corresponding aperture setting. You have control over all other exposure variables, including exposure compensation.

Aperture-Priority AE: The opposite of Shutter-Priority mode, Aperture-Priority AE allows you to set the lens aperture (with available apertures depending on the lens in use), while the camera selects the most appropriate shutter speed. Again, you have control over all other exposure variables, including exposure compensation.

Manual Exposure: This mode provides the same range of exposure control as the other Creative Zone exposure modes (except for exposure compensation), but lets you control both shutter speed and lens aperture independently. The shutter speed range is extended to include a Bulb setting, allowing long exposures for as long as you hold the Shutter button down. (The rear display reports the elapsed time, from one to 999 seconds, as the exposure progresses.) A display in the viewfinder reports whether the camera thinks your settings will result in under, over, or correctly exposed photos.

Automatic Depth of Field AE: This is the final mode in the Creative Zone, and is meant for taking pictures of large groups of people, landscapes with foreground detail, or any subject with elements of interest at varying distances from the camera. This mode puts the camera in control of both the shutter speed and aperture values, but you can adjust the other exposure variables. (This mode cannot be used if the lens focus mode is set to manual.) When shooting in Automatic Depth of Field AE, the camera sets both the lens aperture and focus distance to achieve a sharp focus over a wide depth of field. It uses the autofocus system to measure the distance to the subjects covered by each of the nine autofocus zones, and then attempts to set the focusing distance and lens aperture so as to render all subject areas in sharp focus. (This is a really useful mode, I wish other manufacturers would steal a page from Canon"s playbook on this one.)

Playback Mode: This mode is entered by pressing the Play button on the back panel. Playback mode lets you erase images, protect them, or set them up for printing on DPOF compatible devices. You can also view images in an index display, enlarge images to 10x, view a slide show of all captured images, or rotate an image. The Info button activates an information display, which reports the exposure settings for the image and graphs the exposure values on a small histogram.

Auto power-off has 30 second option added, which is now the default, to help save power. Options added for Auto Rotate. (You can now choose whether to auto-rotate played-back images both on camera and on the computer, or on the computer only.) LCD auto off option has been added to control LCD illumination via the face sensor in the viewfinder eyepiece. The shoot w/o card option has been removed, to make room.

LCD display when power ON: You can choose to turn off the main shooting display screen by pressing the DISP button. This custom function setting lets you choose whether or not the camera remembers the prior setting when the camera is turned off and back on again.

Captures a reference image for the dust reduction system, showing where dust is present on the sensor. Dust shadows can then be automatically removed from the images when they"re processed through Canon"s software.

Record,Display - vertical images are rotated on both the camera"s LCD and on the computer. (In applications that understand "Rotate" tags in the files" EXIF headers.)

Raises the mirror with the first press of the shutter button, releases the shutter with the second. (Useful for reducing mirror shake when using a tripod and remote release with a long telephoto lens.)

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I am going to make a lot of comparisons between the FX6 and the Canon C70 in this review because the Canon is the camera that is most likely to be compared to the Sony.

Above you can see the difference between a standard sensor (on the left), and a back-illuminated sensor on the right. Back-illuminated technology places the metal wiring of the photodiode beneath the diode instead of above it. Back-illuminated sensors offer increased sensitivity and less noise.

Because of the low megapixel count, the sensor readout is extremely fast, and this means that the rolling shutter will be almost non-existent. In theory, the rolling shutter performance should be better than that of the FX9 and on par with the a7S III and FX3.

The FX6 has a full-frame sensor, while the Canon C70 utilizes an S35 sized sensor. The sensor in the C70 is the exact same sensor that can be found in the C300 Mark III. It also utilizes the exact same DGO (dual gain output) technology. You shouldn’t confuse Dual Gain Output with Dual Base ISO. Although it’s the same basic idea of having different readout calibrations, Dual Gain Output is much harder to do than Dual Gain ISO because that switches between the two. What ARRI and Canon are doing requires there to be a dual readout on every frame and then processing all of that on every frame.

As a comparison, the Canon C70 features EOS iTR AF X. iTR stands for Intelligent Tracking and Recognition. This is the exact same system that is found in the Canon 1DX Mark III.

The C70 also has a distance indicator that works in conjunction with RF lenses. Information from the lens will be displayed on the LCD screen as both a numerical display (distance to the subject) and as a bar display.

The Face & Eye Detection on the FX6 works really well and most times it is going to do a very good job. It isn’t full proof, but you could reliably use it for locked-off interviews or tracking people if there isn’t too much else going on in the frame. The one thing you will notice is that it won’t detect the back of somebody’s head if they are walking away from camera or you are following them from behind. I shot this test backlit to challenge the AF system. It is pointless to do an AF test like this indoors under good lighting conditions because it won’t challenge the system.

As a comparison above you can see how the FX6 and Canon C70 compare. The C70 doesn’t have any eye detection like the Sony FX6. However, the C70 can track the back of subjects’ heads which is something the FX6 can’t do. From my testing, I found that both cameras performed well and there wasn’t a huge difference between the two. However, I did find that the Sony system tended to pick up faces quicker than the Canon.

One key difference between the Sony FX6 and Canon C70 when it comes to AF is that the Canon has an object tracking mode where you can lock focus on any object and then move the camera around and it will stay locked on that object. With the FX6 it will only track a person.

The Canon C70 uses a combination IS that allows for coordinated control between the RF mount, an RF lens, and the electronic IS. If you use EF lenses through one of the adapters you still get Optical IS and Electronic IS in camera, but they are done separately.

The only monitoring for the camera comes in the form of the 3.5″ 1280×720 LCD touchscreen. While this is ok, it isn’t great. It isn’t overly bright, nor overly large. I personally wouldn’t just want to rely on this for composing, focussing or judging critical exposure.

The LCD screen that comes with the FX6 is the exact same LCD that comes with the FX9. This LCD screen can be moved around and positioned in a variety of places on the camera. Any third-party loupe that works with the FX9, or the actual loupe for the FX9, will work with the FX6.

What you need to factor in is that Canon is not as modular as the FX6. The C70 consists of the camera body and a removable top handle. On the other hand, the FX6 consists of the camera, removable top handle, removable LCD screen, and removable side grip

If we look at the removable top handles we will see quite a few differences between the two cameras. The FX6 handle is considerably larger than the one that comes with the C70. This is where you will find the built-in XLR inputs, various controls as well as the rosette attachment for putting on the removable LCD.

You will also notice that the FX6 handle has quite a few tapped 1/4-20″ threads while the C70’s handle has none. I am not sure what Canon was thinking by not including any mounting points.

As far as mounting options go the FX6 has a clear advantage. It features lots of mounting points on the body and better mounting options beneath the camera. It is really strange that Canon only put a single mounting point facing forwards on the bottom of the camera. This means you can’t secure it with two screws onto a tripod plate.

If we compare it to the Canon C70, the C70 weighs in at 1,170g / 41.27 oz. The C70 has physical dimensions of 6.3 x 5.1 x 4.6″ / 160 x 130 x 116 mm. What you need to factor in is that C70 already has everything attached to it apart from the top handle. Once you had the top handle, LCD screen, and side grip, the weight advantage of the FX6 had disappears.

Below you can see the weight comparison between the FX6, Canon C70, RED Komodo, Kinefinity MAVO 6K S35, Z CAM E2-S6 Super 35, Panasonic EVA1, and the BMPCC 6K Pro.

As soon as you attach the optional loupe to the LCD screen it just wants to move by itself because the LCD mount is so weak. It doesn’t matter how tightly you lock it off, it still wants to move.

The Canon C70 build quality is fairly comparable to the FX6, however, the buttons feel more tactile and the overall attention to detail seems a bit better.

If you look at items such as the audio panel door and media card door they are a little flimsy, especially compared to the C70. That’s not to say they might break, it is simply just an observation.

Small details such as the plastic coverings on the inputs and outputs are better on the canon C70 than they are on the FX6. On the FX6 you really need to remove them entirely because they just end up getting in the way.

Just like the FX6, the Canon C70 also utilizes a fan and cooling system. The C70 has its ventilation and electrical systems separated to protect the sensor from water, sand, dust, etc.

With the C70 you can also utilize the optional EF-EOS R 0.71x speedbooster. This allows you to get the most out of Canon EF full-frame lenses. The EF-RF speedbooster creates a 0.71x wide optical conversion. It fully supports CMOS AF and optical correction with Canon EF lenses. It will also pass through and display f-number, focal length, and lens metadata.

The C70 has a lot of buttons and while most of them are conveniently located, the audio controls are located behind the LCD screen. To access them you need to have the LCD screen flipped out.

As a comparison, the Canon C70 has 10 pages on menus. I personally found the Canon C70 menus were even worse to navigate than the Sony. The joystick on the C70 that you can use to toggle through the menu pages often gets stuck or is unresponsive.

Just like on the FX9, the FX6 has the same touchscreen operation available from its LCD screen. This allows you to access menu features and make changes to certain camera parameters.

This really has been made a little more complicated than it needs to be. Look, I get it, Sony didn’t want people to accidentally touch the screen and change the focus, but as there isn’t any other type of touchscreen functionality except for when entering the Quick Menus this doesn’t seem to make a lot of sense. They should have just put a touchscreen function directly on the screen to be able to turn it on or off.

Unfortunately, you cant change the white balance, ISO/Gain, ND, shutter, or Iris using the touch screen while you are on the Main Status menu. The only items you can change have a thicker white box around them.

There is also another way of making changes where you can scroll through certain parameters that are shown on the LCD display. You can access this feature by either doing a long push of the multi-function button or by placing the feature on an assignable button. This allows you to change items such as ISO, WB, focus modes, etc. This is a far better way of making changes than trying to use the Quick Menus.

With the Canon C70, you have the ability to access and change key parameters of the camera’s operation right on the LCD screen without having to go into any menus. This makes it very quick to make changes. I much prefer Canon’s touch screen implementation for this very reason.

Above you can see what you can do if you are shooting in S&Q. The auto focus function, auto iris function, and auto shutter function are disabled in Slow & Quick Motion mode. However, the auto focus function can be used

On paper, the FX6 offers you higher frame rates in UHD than the more expensive FX9. The only way to get UHD 120P out of the FX9 is via the expensive and cumbersome XDCA-FX9 extension kit and record it externally to an Atomos product.

As a comparison, the Canon C70 is capable of recording in resolutions up to 4K DCI (4096 x 2160) and in frame rates of up to 120p. In 2K or HD you can record up to 180p. Unlike the FX&, the C70 can record 120p in 4K DCI.

What is interesting to see is that Canon has enabled simultaneous audio recording when shooting high frame rates. The audio gets recorded in a separate file from the video. The file format it records in is BWF (.WAV extension). This is a great feature and something that shouldn’t be overlooked.

As a comparison, the Canon C70 uses SD UHS II cards. You do need to use the more expensive V90 cards to record HFR material such as 4K 120p. V90 cards are still a lot more affordable than CFexpress Type A cards. A 128GB V90 card retails for around $160 USD, that’s around $240 USD cheaper than a 128GB CFexpress Type A card. V90 cards are also available in sizes of up to 256GB.

What is interesting to see is that Canon allows the user to record different resolutions at the same time. For example, you could record 4K DCI to one card and 2K to the other at the same time. You can also record progressive and interlaced at the same time. So you could record UHD 50P to one card and HD 50i to the other. If you wanted to record different codecs at the same time you can also do that. For instance, you could record XF-AVC ALL-I to one card and XF-AVC Long GOP to the other.

There is also a ND auto button just like on the FX9. ND auto lets you keep your ISO, shutter speed and f-stop locked and then the electronic ND will automatically make adjustments to keep your exposure correct. With this system, you can also do things like adjusting the depth of field in real-time as the variable ND will compensate automatically when you make changes to the f-stop.

I found one thing that found with the electronic variable ND is that if you have it turned on and you use the ND Variable scroll wheel on the camera body to adjust the ND, if you scroll the wheel too much it actually turns the Variable ND off and you will see the clear filter roll back in. You do get a sort of warning that pops up on the screen that says ND: Variable 1/4. If you are still turning the ND wheel it will quickly go to no ND. This is something you just need to be aware of, especially if you are recording and making adjustments to the ND at the same time.

On the Canon C70, you cannot load up any LUTs. There is a “Look File” for creating custom picture profiles. This allows you to import a .Cube format 3D LUT into the camera and apply the captured 3D LUT for recording. This makes it possible to record with the intended look even in workflows that do not do color grading.

With the Canon C70, you do have the ability to view de-squeezed anamorphic images, but there are no anamorphic modes on the camera. You can also output a de-squeezed image over HDMI.

As a comparison, the Canon C70 has two Mini XLR terminals that can provide +48-volt phantom power for attaching professional microphones. Canon doesn’t include any Mini XLR cables with the camera. There is also a 3.5mm microphone input allowing the connection of a variety of different microphones.

I am going to compare the usability of the FX6 to the usability of the Canon C70. Now, I can only do this from a personal standpoint. I can’t tell you which one of these cameras has better usability for your particular needs. Please bear this in mind when you are reading this.

As the camera has some depth to it you can place the back of the camera against your chest to create a third point of contact. Having the LCD screen out towards the front of the camera helps when doing this.

If you use the optional loupe with the camera it is best to take the LCD screen off the top handle and attach it to the back of the camera body. This way you actually handhold the camera and put it up to your eye. You can also tuck your elbows into your sides to create a more stable shooting platform.

Making changes on the touchscreen is a little difficult because I mentioned the camera want’s to roll to the left if you are just holding it by the grip. Even if you try to support the back of the LCD screen with some of your fingers, the balance just doesn’t feel right. This is mainly because one of your hands is at the front and higher, while the other is towards the back and lower. The LCD mount is also pretty badly made and the whole screen tends to move around unless you have it completely locked off.

You do this by pressing and holding the WHT BAL function button. This brings up a small window on the bottom left-hand side of the LCD screen where you can toggle through the following options:

If you want to let the camera do all the heavy lifting for you by utilizing all of its auto functionality you can. If you are doing run & gun you could put the camera in ATW (Auto Tracing White), ND AUTO, AF, and AUTO EXPOSURE (turning the AGC-auto gain control on). Then set the camera to S-Cinetone and off you go.

Yes, you can make the footprint of the camera smaller by just repositioning the LCD screen on the body and not using the top handle, but I actually found it harder to access the screen when hand-holding the camera this way.

Cameras like the FX6 aren’t designed to be put on your shoulder, and at least in my opinion, it is counterintuitive making something larger just to be able to do this. If you want to shoulder mount this camera you are better off buying an FX9.

I have done the exact same tests with the Canon C70 and you can see those down further in this review. Both cameras were using the eaxct same lens to take out any optical bias. The tests were done under the exact same lighting conditions. None of the images have been touched or altered in anyway.

I personally found the screen on the C70 easier to access and touch than the FX6 when I was hand-holding the camera. You can still maintain stability while touching the screen. I could still tuck my elbows into my chest and use my left hand to support the LCD screen while making changes on the front of the screen. This works because essentially both your hands are at the same height on the camera. On the Sony FX6, you have to reach up to access the screen and that throws the balance off.

Speaking of the screen I wanted to see how bright it is. In the C70’s menu, I turned the brightness up to +50 and then I shot a white card and exposed it so it was right on 100 on a waveform. I then played that file back and measured the brightness of the screen using a Sekonic C-800. I found that the brightness of the screen was 296 nits. Now, here lays the problem. Turning the brightness up on the C70’s LCD screen makes everything look washed out and it isn’t actually usable.

Having the ability to quickly access and change key functionality of the camera right from the touchscreen is really nice. Being able to change white balance, ND, shutter speed and ISO very quickly make a world of difference when you need to operate quickly.

Whatever is selected orange you can then adjust with the joystick that is located just above the FUNC scroll dial. Once you make an adjustment you have to press the middle of the joystick. If you don’t no changes get made. Now, you need to be very aware that once you press the WB button the orange box that comes up only stays active for 5 seconds. If you don’t make a change or touch any of the controls within 5 seconds it will turn off.

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